About this album

Into this port if I might come,

Rebecca, to Jerusalem,

Would not so ravished turn –

Nor Persian, baffled at her shrine

Lift such a Crucifixal sign

To her imperial Sun

Emily Dickinson: He touched me, so I live to know

To a city fair and strange we sailed.

From the Argo we disembarked. Hyperion beheld a great city:

he stood upon the wall between dream and madness.

Nearby was the bookshop of Madame Alchemier. And she opened to him the Door of the Book.

Hyperium plunged headlong into Exile… and the hidden circle of Alexandria.

For there is a Magic Theatre, and it lies on the Other Side of Time.



Alexandria expands upon themes of exile explored in its prequel, Argo.

Aspiring to dignity in a materialistic age – where fame is assumed to be a route to immortality or at least legitimacy – is a guiding impulse, nourished by ideas gleaned from many epochs.





Tracks & Lyrics

#1. Alexandria

Duration: 5:28

Music / Lyrics: Mark Krol, Louisa John-Krol

One more day away from Alexandria

And night is long to sail –

Rolling in a slow procession moved a place,

A city fair and strange.


Send the felon winds and every gust of wings

Toward Bayona’s Hold

Over tides of dark I’ll ever know your love

An uncrowned whitethorn blown:


“Fame isn’t mortal,

nor does it lie in rumour, nor in your pride

But in the Laurel you’ll reign afar

And in the Silence of you

in your rain, in your garden

in the sun on the rill

in Alexandria.”


As one so long prepared

you’ll hear the midnight voices,

Don’t you mourn them now!

Don’t betray your hope, and say goodbye to her –

Your Alexandria.

#2. Contradiction is the Dragon

Duration: 6:11

Music / Lyrics: Louisa John-Krol / Mark Krol

Out on the colder mornings,

through a city of red snow;

Over the arc of reason

you can’t tell it whole no, no


Contradiction is the Dragon –

fly off with the crow!

Blackbirds scurry through the snow –

windows crack ‘n’ groan.


Fly over the fortress,

Gleam under the rook

Your eyes are the roaming soul of air

Climb the stair, climb the stair of you!


Sure as cities crumble over seven seas,

fall over my life

As I gaze into your face –

there I see the Dragon;


Contradiction is the Dragon –

fly off with the crow!

Blackbirds scurry through the snow

– windows crack ‘n’ groan….

#3. Hide in your Shadow

Duration: 4:57

Music / Lyrics: Mark Krol / Louisa John-Krol

Wind blows through branches of lost Time

sleep forms foam rising to ashes.

And as you dance, your hair is on fire

tripping, falling, slipping into the ice Moon:

in the light of the Sun, hide in your Shadow.

#4. Fortress

Duration: 5:49

Music / Lyrics: Louisa John-Krol

In your boudoir you’ve been hiding,

Lady in the Fortress

hiding yourself from the fog –

mist will reach you

it’ll creep through cracks o’ windows,

climb the stairways of your mind


Ah mist will reach you, mist will reach you

Mist will call you, mist will call you

Mist will haunt you, mist will haunt you


In your chamber, TV laughing

Lady in the Fortress

Alchemy is dangerous….

shooting arrows, you’re shooting arrows

shooting from your Fortress, shooting arrows in the mist

ah but mist will reach you mist is closing in on you,

mist will move you, under doorways of your soul

#5. Talim Ridge

Duration: 2:02

Music / Lyrics: Louisa John-Krol

Moon on Talim Ridge,

Six in red and One rhyme!

Flying Guardians, tails in the Air

were feeding the pine-cones.


Four hats rimmed in green,

Three in paper-bag brown –

on the Other Side in a Valley far from here

moved with the clouds.

#6. Belarmino’s Dictionary

Duration: 2:54

Music / Lyrics: Mark Krol / Louisa John-Krol

After the novel Belarmino and Apolonio by Ramon Perez De Ayala

But to see them on the pavement or the air drift

on nameless mist…. to the ceiling or the stair,

out of cages, birds fly south into the Sun

dusty pages, hand an’ mind fall into one


Fall into one,

come in the dark cave where the light is far better than here!

fall into one, fear in your palm where the line is

a word they can’t hear

fall into one, Belarmino, Belarmino….

#7. Paper Door

Duration: 4:30

Music / Lyrics: Mark Krol

And Dostoyevsky is waiting, humming

Beside the meadow green,

He’s been there a million years

Telling tales to wandering ghosts –

And how in this world of Fate

Hope feeds our homes?

The Paper Door it swings away and I have fallen into Moontalk…

And Dostoyevsky is waiting for you

Beside the meadow green,

He’s been waiting there a million years!

Waiting with his crew –

And now on the heron ground

The flying Paper Door!

The Fool leaps into the mire

It’s a wilderness of mirrors in Time….

And how in this world of Fate

Hope feeds our homes?

The Paper Door it swings away and I have fallen into Moontalk…

Seems like whirling and the ordinary life is gone!

It’s gone and you Step into the other world of feeling,

The Paper Door it swings away and I have fallen into Moontalk

The Fool leaps into the mire

The ordinary life is gone

The Fool leaps into the mire

It’s a Wilderness of Mirrors

in Time The Paper Door it swings away,

Wings away, onward and far.

#8. Ariel’s Flight

Duration: 3:51

Music: Mark Krol


#9. The Valley of Seven Keys

Duration: 6:22

Music / Lyrics: Louisa John-Krol

Based on her original story The Valley of Seven Keys

I dreamed of a Statue

I dreamed of a Garden that hadn’t a key

I dreamed of a Play –

in a tree

I heard Someone say

I heard Something whisper from beyond the grave

I heard of a Name – in a cave

“You’d better take this key”, said the man in the Valley of Seven Keys

#10. Madame Alchemier

Duration: 6:51

Music / Lyrics: Mark Krol / Louisa John-Krol

Based on a character from Louisa’s (unfinished) magic-realist novella

Lyrics: Mark Krol / Louisa John-Krol

Last night a van with a clown on its back

took a one-man show down a windy road.

He’s heading down to a woman I know –

and the saddest of places I used to go:


Rows of books would line the walls,

paper souls she had in store,

voices lurking in the hall, crying –

“Poetry’s gone to Hell!”

and the turnover’s not what it used to be

and the paint’s been peeling for years –


But there’s a snow-cat in the window,

and a card of the pier –

“Won’t you come down the stair and try my wares?”

said Madame Alchemier –

“Well maybe they don’t want you,

and maybe they can’t hear?

and maybe they don’t want you”,

said Madame Alchemier.


Out on the Boulevard sequins abound

in another Circus of Charisma.

One more festival glittering past –

If they want something, they’ll come to me…


No more writers want to read,

No more talkers want to hear,

No more painters want to see

Looks like Poetry’s gone to hell!


And the turnover’s not what it used to be,

And the paint’s been peeling for years –

But there’s a snow-cat in the window….

#11. Canto IV

Duration: 3:45

Music: Mark Krol


#12. The Last Centaur

Duration: 4:21

Music / Lyrics: Louisa John-Krol

Final two lines after Walter de la Mare’s poem The Listeners

It was the dawning of Fifteen Hundred

and all my village was at the fair –

I’d bought me a spindle an’ bread an’ spice

and peddled my garlands for ladies’ hair.

I’d rounded the stage of a troupe of players,

drawn by the shape of a stranger thing:

from ground to torso a mighty stallion,

waist to head t’was a man!

“Hush now, tell not a soul!

Things of my kind are fading…”

He told that there was no stronger army

than the sweep of a changing thought.

He lowered his eyes and he smote the turf

and waved a forehoof across the air –

as if to say we had done him wrong,

or was it a warning of things to come?

“Lines are already drawn,

this world will be sundered in two

And from now on you will only meet me

champing the path of your dreams.”

T’was then that I saw he had cast no shadow

and not a soul seemed to notice him –

I thought I caught sight of a tear escaping

as he had turned and his form had dimmed:

“Go!” cried he, “Go like the wind,

five hundred years are grumbling…”

and like the sound of iron on stone,

his plunging hooves were gone.

Bonus tracks on American collector’s edition only

#13. Death’s Illusions

Rudiger Gleisberg (piano, chordal composition), Mark Krol (vocal melody),
Dirk Schlomer, Carsten Agthe, Mathias Grassow (studio enhancements)

Lyrics: Mark Krol

This One…

asking that I die… telling me to fly

charming a million souls

calling me to roam

screaming “on your knees!”

dying to appease

asking that I die… telling me to fly


Death’s illusions

scatter like metaphors of confusion

convictions of meaning

create a geography of dreaming

am I this summer descended in rain?

am the eagle? am I this grace?

am I oblivion they call my name?

am I this song falling in flame?


Death’s illusions… (etc, ibid)

am I the thunder lost in a trance,

or resolutions caught by demands?

am I the memory of someone’s face?

am I question lost in a daze?

am I a dogma or am I a poem?

beyond your ken is my soul free to go?

#14. Gwyllion

Music / Lyrics: Louisa John-Krol

Dedicated to Alan Lee’s Welsh faery-witch in his book with Brian Froud, Faeries

Stony is her stair

Where brambles grow

Ponies wild and fair

Would pass by Gwyllion


Lonely is her lair

Where horsemen lie

Eyes behind her hair

Is waiting Gwyllion:


Dilly-bag bounty, carry the brain

Billy or Tamlin – what was your name?

Tig Tag Toe, and wouldn’t you know?

Nimble my ride to ramble row!



#1. Alexandria

In part, the title-track is a loose adaptation of Cavafy’s poem,  The God Abandons Antony (Collected Poems translated by Edmund Keeley & Philip Sherrard); and Milton’s poem Lycidas; music based loosely on Baixa dansa Barcelona, from 15th century manuscript de Bruxelles (heard on a CD entitled Le Moyen Age Catalan, Ars Musicae de Barcelone).

#2. Contradiction is the Dragon

The dragon of Western myth is depicted as a sinister worm, associated with greed, ego, lust, venom, fire and destruction. Eastern Dragons preside over fertility and the elements, over mountains, streams and earth’s bountiful treasures. Ibn Arabi claimed that when whenever we see contradiction, we are looking at reality.

#3. Hide in your Shadow

Inspired by our bushland property Brecon, of Junortoun, near Bendigo, where I was raised.

#4. Fortress

A woman is captive of someone, or something – perhaps her own reclusiveness? – but she is at her window, shooting arrows into the mist. Whether they are calls for help, or invitation, remains a mystery.

#5. Talim Ridge

For the hillsides we love, such as The Dandenongs by Melbourne, or Coromandel Valley by Adelaide.

#6. Belarmino’s Dictionary

A tribute to Ramon Perez de Ayala’s novel: Belarmino and Apolonio.

#7. Paper Door

For Dostoyevsky, Max Frisch & Shiga Naoya. Mark Krol was the leading songwriter of this music.

#8. Ariel’s Flight

Here we are reaching toward the next album, Ariel.

#9. The Valley of Seven Keys

From my story (in the Fables chapter of this website), by the same name.

#10. Madame Alchemier

From an incomplete novella by Louisa: stubborn, proud, runs a dilapidated second-hand bookshop, peopled by stray customers and illegal tenants: outsiders, misfits, eccentrics, the unemployed, the exiled. Few are buying anything. A ticking clock spells out that diminishing treasure – Time. Background reading includes poems by Vallejo and the novel Momo by Michael Ende.

#11. Canto IV

A reference to Dante’s Limbo, where pagan souls dwell.

#12. The Last Centaur

Lyrics by Louisa, except last line: from The Listeners by Walter de la Mare.

Further note to this Finale

The Renaissance – a time of discovery that changed the way we thought – a flat earth would give way to a globe revolving round the sun* ; village life would give way to city-life and later, the Industrial Revolution; feudal hierarchies of aristocracy and church would give way to the State, to merchants and the rise of capitalism; old superstitions (from fireside tales and agricultural folklore, to the persecution of witches) would give way to scientific rationalism and the Age of Reason.

  • Note: In contradistinction to the above assumption, some have claimed “The misconception of medieval people believing in a flat earth was begun and perpetuated by Washinton Irving in his biography of Columbus.”

(Thanks to Angelee Sailer Anderson for this information.)

The year is 1500.  We are at a fair, attended by a young woman. She stands poised on a shift in consciousness: from her inner world and old village ways, to a technological future. She meets a centaur, who hints of coming change; until she realises no-one else can see him.

The following quotations appeared on the collector’s edition of Alexandria:

What power can restore life to shadows? It is here that imagination becomes embattled with movement, on behalf of the moment, and whatever is restored to brilliance becomes, so to speak, a moment torn from the throat of motion, a testament to the durability of even the most ephemeral instant, to the trickery of the nullifying memory. So perhaps it is another, more bountiful memory, one twinned with Imagination, which is the mother of the Muses.

Czeslaw Milosz: The Land of Ulro

Human language is…

like a cracked kettle on which we beat out tunes for bears to dance to,

when all the time we are longing to move the stars to pity.

Gustave Flaubert: Madame Bovary

Magic-realism and the Magic Theatre

Hesse, in Steppenwolf, wrote of a Magic Theatre at the back of Time. (This calls to mind a story by Dunsany, in which Fame appears to shun a poet, yet agrees to meet him at the back of a warehouse in a hundred years.) How do we make a theatre of mortal life? Can we find enchantment in a world divested of old gods, myths and faeries? 15th century neo-platonist Ficino traced the soul through ‘idolum’, likened to an alchemist’s brew, a ‘theatre of imagery’ (like Dr Lao’s Magic Circus?). In the 20th century, Calvino’s novels Invisible Cities and The Castle of Crossed Destinies re-enchanted reality through veiling and unveiling reality, tomfoolery and interweaving imagery.

Magic Realism is not the same as escapist fantasy. Quite the contrary. It searches within, rather than beyond.

Real because imagined, imagined because real

Czeslaw Milosz.

City of the Sun

What are the links between modern and ancient cities, or fissures through which other worlds interact with this one? William Blake said we could read a culture by its buildings. Which ones dominate? Our parliaments, spires and universities are dwarfed by skyscrapers of commerce. May we still build an Alexandria within? Or has She always been with us – in our dreams, songs and stories? Perhaps it is for us to play the Fool, trace cracks in the stonework, knock upon hidden doors? In Chess, the Castle is the Rook, which means to cheat, or fool. In Greek myth, Hermes is the Arch Deceiver, but as Messenger and psychopompos (Guide of Souls), he is present in creative play (hence, according to Shakespeare, we are players); on a musical level he might signal a crack through which humour peeps; awareness of contradiction; an overturning or unorthodox realignment of forms.

Fortress, Rook, Citadel, Harbour, Synagogue,

Library of Babel,

Agora, Kraal, Bazaar, Babylon, Brave New World,

Chamber, Camp, Harem, Temple, Inn, Tomb, Tao Yuen, Utopia,

Ziggurat, Labyrinth, Avatar, Yahooland,

Gormenghast, Goblin Market, Burrow, Faerie Mound, Seelie Court,

Shrine, Tavern, Tee Pee, Ulro, Stonehenge, Pooh’s Turf,

Prison, Palace, Pyramid, Parthenon, Monastery,

Shire, Cave, Kingdom, Casino, Tower Inferno, Cair Paravel,

Toad Hall, Tower of Victory, Xanadu, Troy,

Holy City of Byzantium.




1998: Blue Tree / Shaping’s Well, Australia

1999: Hyperium Records (with green lily cover art), Germany

2008 (10 year anniversary collectors’ edition): Forest of the Fae, division of Dark Symphonies, USA


Music / Lyrics: Louisa John-Krol / Mark Krol

Except literary & early music sources, acknowledged below

& excepting bonus track ‘Death’s Illusions’ with Rudiger Gleisberg, collectors’ edition

Mark Krol composed many instrumental melodies in this album, including oboe / cor anglais lines in ‘Madame Alchemier’, and ‘cello solo in title-track ‘Alexandria’, without notation, humming them to me or onto cassette. I sang them in the studio as guides, or played them roughly on keyboard, for other musicians (Harry or a sessionist) to replay.


Performance / Instrumentation

Vocals by Louisa John-Krol

Mandolin, Spinning Marble, hand-crafted Koorie Firesticks, Bells, Chimes, acoustic Guitar, Ocarina, Keyboard: Louisa John-Krol

Tiple, Tablas, Angel Harp, Bass, Chas-Chas, additional Guitar, Keyboard, Midi effects (esp. symphonic orchestration in ‘Paper Door’ & ‘Contradiction is the Dragon’, with guiding ideas from Mark Krol): Harry Williamson

Oboe, cor-anglais (‘Madame Alchemier’): Stephen Robinson

Drums (‘Paper Door’): Miles Alexander

Neighing, Whinneying (‘Gwyllion’ on collectors’ edition): Maribel Steel


Recorded, programmed, mixed & mastered by Harry Williamson at Spring Studio, 1997-98, Melbourne, Australia

Except ‘Death’s Illusions’ on collectors’ edition, co-produced by Dirk Schlomer / Rudiger Gleisberg
Mathias Grassow / Carsten Agthe at Amygdaland in Berlin, Germany

Other bonus track, ‘Gwyllion’, recorded & mixed 2007 by Harry Williamson at Spring Studio, Australia

Literary / Other sources

Title-track after Cavafy’s poem,  The God Abandons Antony (read in Collected Poems translated by Edmund Keeley & Philip Sherrard, 1992 Princeton University Press) & Milton’s poem Lycidas; music based loosely on Baixa dansa Barcelona from 15th century manuscript de Bruxelles (heard on CD entitled Le Moyen Age Catalan, Ars Musicae de Barcelone).

‘Belarmino’s Dictionary’: a tribute to Ramon Perez de Ayala’s novel: Belarmino and Apolonio

‘Paper Door’: for Dostoyevsky, Max Frisch & Shiga Naoya

‘Madame Alchemier’ & ‘The Valley of Seven Keys’: tales by Louisa

‘The Last Centaur’: lyrics by Louisa, except last line: from The Listeners by Walter de la Mare

‘Gwyllion’ (a bonus track on collectors’ edition), alludes to a Welsh faery-witch illustrated by Alan Lee in his book with Brian Froud, Faeries

Visual Art

Australian edition (Blue Tree)

– Cover painting (creative expressionist Eden, dove & doll): Karan Wicks

– Photograph of cover painting: Peter Hatigan

– Water colours inside: Rebecca John

– Photography of Louisa at King Lake: Mark Krol

– Design, lay-out: Elly, Black Widow Graphic Design / Crystal Mastering

German edition (Hyperium Records)

– Cover painting (green lily & black dragonfly) & design : in-house , Hyperium

– Photography of Louisa: Mark Krol

American collector’s edition (Forest of the Fae, division of Dark Symphonies)

– Cover painting: Karan Wicks (revisiting Australian edition)

– Photograph of cover painting: Peter Hatigan

– Water colours inside (song illustrations): Louisa John-Krol

– Photography: Mark Krol

– Design, lay-out: Ted & Kat, Forest of the Fae, USA

Thanks in addition to above credits

Internet support for Alexandria (all editions): Arno Pellerin (Prikosnovenie), Richard O’Donovan,
Mary Vareli (Paradox Ethereal), Liz Van Dort, CdBaby & Theodore Wohng

General promo / concerts around time of collectors’ edition: lefantastique, Belgium; Imaginosis, USA

The storytellers, our family, friends, especially Andrew & Eva, Elizabeth Van Dort, Elly, John, Sean Bowley,
Oliver Roesch (for German edition), Momo, Dunsany & the Faeries.



“Alexandria is a realm of dragons and centaurs. Invisible cities of Calvino and Cavafy come to life, with Louisa’s own Madame Alchemier and Valley of Seven Keys. Other inspirations are Milton’s ‘Lycidas’, Dante’s Limbo where pagan souls dwell, 15th century music of Baixa dansa Barcelona, and novelists Ramon Perez de Ayala, Dostoyevsky, Max Frisch and Shiga Naoya. There is a strong feeling of Celtic folk heard in a dream on first & title track reminiscent of Enya. But whereas Enya’s vocals are often air-brushed into merely texture, Louisa’s remain at the forefront. Her settings too avoid obvious grand sweeps and have a more intimate quality… ‘Hide In Your Shadow’: reverb reflections of Louisa’s voice harmonise with her lead… birds and subtle keyboards remind me of Norwegian Bel Canto. ‘Belarmino’s Dictionary’ feels like a music-box ballerina. ‘Paper Door’ is intelligent pop. ‘Ariel’s Flight’ is mysterious with keyboards, distant vocals and sparse percussion. ‘The Valley of the Seven Keys’ goes into imagined realms. ‘Madame Alchemier’ is more introspective… ‘Canto IV’ builds an atmosphere of fog covered lakes. ‘The Last Centaur’ has Louisa singing almost unaccompanied then evolves into Medieval-folk…”

Woven Wheat Whispers / Heathen Harvest webzine, USA

“Louisa’s voice is so clear, so pure, like a stream at sunrise, it may take your breath away. Some of these songs are, I’m convinced, divinely inspired… transporting the listener to other times and places and because of the passion, these became times and places that I found myself wanting to learn more about. I have already ordered my copy of The Collected Works of C. P. Cavafy!… I liken the experience of LJK’s music to that of Loreena McKennitt, whose music stimulates the listener intellectually, spiritually as well as musically. There is also a healing quality to some of the songs, that wrap you in an aural hug! Every track is a delight to be savoured over and over… Beauty, grace, passion and excellence are hallmarks of Alexandria.”

Graham Lubin (extract of review) of Essex, Celestial Voices, June 1999, England

“Louisa John-Krol’s first CD Argo was a wonderful concoction exploring the psychologically and morally complicated worlds of mythology and poetry…. Alexandria runs along the same rivers of imagination and creativity… full of vivacious incantations inspired from mellifluous rumors from faery lands and literary world… a tasty cocktail of Myth, glimpses of Cavafy and echoes of Dostoyevsky. Louisa’s smooth voice and array of instruments are catalyst to the magic potion that gives life to mysterious characters from fringes of reality! An excellent effort by this Australian voice treasure.”

Stavros Moschopoulos of Rome, FAO, United Nations, 1999 & Luna Kafe, August audible-edible delights, Italy

“This album is… addictive. There is not one weak moment on this CD. It opens with a lush ethereal melody with Louisa’s voice as a faerie siren. A great flute line opens ‘Contradiction is the Dragon’. ‘Canto IV’ and ‘Fortress’ are pure gems. I could go on and on about this album. Indeed, I could go on and on about all her work. Just get this CD.” 

Robert Frank, posted at, USA

“Alexandria is sometimes eerie, sometimes dreamy and often soothing. Its ethereal folk sound comes from an echoing mixture of instruments. Adding to the atmosphere are lyrics full of mysterious story-telling.”

Sue Barrett, Rhythms magazine, Issue 85, August 1999, Australia

“Louisa John-Krol…die Marchenerzahlerin….einer ausgfeilten Collagentechnik aus Ambient, Folk und klassischen Elementen. Ihre Kompositionen entfuhren den Horer vom ersten Akkord an in eine entspannte Folk-Eleganz mit traumhaften Soundwelten und flachig angelegten Grooves. Dazwischen kombiniert Louisa dezent feinste Breaks und angedeutete Electro-Tunes, wobei Harry Williamson (fruhe Genesis).”

(DF) in Music/in Zide, Nr. 7 Juni 1999, Germany

“A canny fusion of ambience, folk classical… haunting music sensation… Reminiscent of Loreena McKennitt & Kate Bush, with a powerful Dead-Can-Dance-style ethnic undercurrent, Alexandria draws on John-Krol’s storytelling background, setting myth and poetry to soaring vocals… homegrown alternative to Enya…”

Emerald Hill Times/ Melbourne Weekly, March 1999, Australia

An Angelic Voice that beckons you to drift aimlessly in a Subconscious Delight… A definite addition to those of you that know superb Craftmanship…”

Nicholas, posted at, USA

“eine traumhaft gelungene Fusion aus Ambient, Folk und Klassik. Musik, die Sehnsuchte weckt, dabei eine Kettenreaktion von Gefuhlen auslost… Erinnerungen an Loreena McKennitt und Kate Bush werden wach und verstromen einen Stil a la Dead Can Dance, wenn sich Louisa John-Krol auf ihren Hinterground als Marchenerzahlerin (sie gehort zur Storytelling Guild) bezieht – sie verknupft Mythen und Poesie mit ihrem schwebenden Gesang. Ihre Nahe zu Dead Can Dance ist ubrigens nicht zufallig, ist sie doch eine Bekannte von Bildhaurerin Dawn Perry, Schwester von Brendan Perry. Das Album kombiniert elektronische Sounds mit live eingespielten Instrumenten und wurde von Harry Williamson (fruhe Genesis) produziert.”

Martz Mailorder, Germany

“Louisa’s songs are like self-contained faery tales. Extremely visual, lush, and soothing, you will find yourself transported.  I always imagine Louisa perched on a rock, deep inside a sea cave when I hear her voice! This is the fourth album I have bought of Louisa’s, and it is becoming a fast favorite.”

Paige Cavanaugh, posted at, USA

“…Alexandria ein Album das sofort eine einnehmende Faszination bewirkt. Louisa John Krol schafft es, den Horer von seiner Umgebung vollig loszulosei und ihn sanft in ihre Welt voll Warme, Harmonie und Entspannung zu fuhren… is sie doch Marchenerzahlerin und Mitglied der Storytelling Guild… Gesang, der sich leicht wie ein Vogel in die Luft legt… Eine ideale Unterstutzung bildet die Musik, eine Fusion aus Ambient, Folk und Klassik… eines kompletten und begeisternden Werkes… Enya, Dead Can Dance, Loreena McKennitt, Hyperium’s Heavenly Voices Veroffentlichungen oder Kate Bush…”

M.S. codemusic org. reviews, Germany

“amazing, gorgeous otherworldly music; what you’d think angels would sing. ethereal fans take note! this should be a defining album for otherworldly music. I am in love with this album…haunting… songs cascade over like swirls of water with vocals light and pure as wind.don’t think New Agey either, cause these tunes have a beat quite often, nothing washed out/watered down… great samples complement the atmosphere. Why can’t music like THIS be on the radio?

Jackie Zalewski, posted at, USA

“She sings of the port of many peoples, Alexandria, but Louisa John Krol herself is as a port for many peoples. Her unique sound will entice the visitor to transcend the ordinary… lost in imagination’s adventures. First its the vision of this ‘port’, evocative of a romantic otherworld that tempts you to tarry awhile, then music summons images of wandering minstrels of long ago who carried myths and legends… when her clear sweet voice beckons as sirens beckoned Ulsysses, seduction is complete. You know you’re going to stay.”

June Barnes-Rowley, author & storyteller, A Swag of Yarns magazine, Australia

“fur ruhige Momente daheim, wobei der Vergleich mit Enya m.E.eher paBt als mit Loreena McKennitt…”

Alexander Kreit, May 1999, of Hannover, Germany

“Alexandria is an album of gorgeous ethereal folk songs… crystalline voice… dips into middle-eastern territory. Louisa John-Krol is also a storyteller: this comes out in her lyrics, fanciful, fairy-tale-ish… perfect music for dreaming. Very much in the Lisa Gerrard/Kate Bush/Loreena McKennitt vein.

Ethereal Lad, Live Journal & Ectoguide, USA

“…on a clear, star-filled night, Alexandria was playing on the Ardfern penninsular, off the Mull of Kintyre at the Westernmost reaches of Scotland from one millenium to the next.”

Mike Robinson of Edinburgh, by email, 19 January 2000, UK

“You have a crystalline voice. Thanks for making perfect music for my own dreaming.”

Craig Gidney, author, of Washington D.C., email, 23 July 1999, USA

“Alexandria is absolutely fantastic.”

DJ Ottic, Alphabet Media, email, 12 July 1999, Germany

“I hear you singing in the darkness / and light spills through my veins”

Lance Earnest, extract of his poem, 3 March 2003, USA

“Upon my first listen of this album, ‘Alexandria’ and ‘Fortress’, old companions (from compilations) were probably my favourites, until coming to ‘Madame Alchemier’ …superb contribution. It seems strangely familiar, as if I’d heard it prior to buying  this album, which is not possible. Perhaps it simply has a ‘classic’ sound…”

George B. Moragemos, in a typed letter, 5 July 2002, Germany

“We were playing Alexandria as we drove through valleys (in the Lake District) with huge mountains interspersed with dreamy lakes…  Alexandria highlighted the beauty of the mountains… Also, the landscape made every note of Alexandria seem at a sublime pitch.”

Rebecca Yeo, email, 26 August 2001, UK

“You’ve a beautiful, mystical voice, and i really love your work. Best wishes from Portugal.”

S, ‘CC’, Myspace, 13 February 2007, Portugal

“I have read your (story) about the seven keys… interesting handling with number 7, i interpret the walk downstairs… as a visit at the roots of yggdrasil where the nornes spin the lives. Here the boy meet his own life  with all imagines, dreams…”

Elmar Klemm, Zillo Magazine, by email, 18 July 2001, Germany

“I discovered your song ‘Alexandria on a cd in the D-side magazine in France. And i found it so peaceful that i decided to find some more news about you.”

Vincent Trybon, photographer, email, 8 January 2002, France

“Alexandria… it’s setting up camp for a while. My favourite track now is ‘Madame Alchemier’ with its clocklike percussion…”

Brian C. Searle of Portland, Oregon, Dust to Dust Magazine, email, 9 August 1999, USA

A few people create things that will stand forever. Your work will continue on  for many life times if not literally forever.”

David Bagby, California, email & cdbaby, 17 February 2000, USA